Proposal

The proposal of this work as a composition project arose from the idea of ​​a new musical piece originated from the integral appropriation of an album of indigenous songs, using it as "library of sounds" for new musical experiments. The album in question is by Marlui Miranda, a singer and researcher of the Brazilian indigenous culture, called IHU - Todos Os Sons. Through the redisposition of the "fragments" of this work, as a search for the representation or the approximation of what could be the singularity of this work, it is expected that it is possible to explore new sonorities in the subtleties posed by the continuous and simultaneous hearing of these songs. Thus, by using the tracks of this album and performing as a "procedure" a certain organization and arrangement of the tracks, it is expected that it is possible to work aspects of polyphony, polyrhythmic, dynamics and rhythm in the resulting piece, for a possible re-signification of the work under anthropophagic aspects and the aesthetics of plagiarism, not necessarily with the same original intentions of the work in question; also without any limitation of the possibilities of perception of new subtleties by the auditory experience generated by the reordering and creation of atmospheres of dynamics and continuity of sounds. In this way, it is also proposed an exercise of reflection on the techniques and the new aesthetic premises currently in force in the contemporary music scene.

Works of Art, the "Archive" and the Communism of Forms

For the proposal of this work I tried to draw up a dialogue with some authors, considering it pertinent the reflection they made on topics on which I reflected and I tried to work on this composition. In a first perspective, considering what he said (Bourriaud, 2004) about the 1990s, the democratization of information and sampling caused a rupture along the lines of the artistic-making of the time. According to the author, a culture emerged at that time that abandoned copyright and started to manage a right of access to works for a kind of "communism of forms", in its own words. Reflecting on this rupture and new posture of emerging cultures of that period, and also on the new techniques and tools that emerged much earlier, according to (Bourriaud, 2004), a series of events that took place in the early 1970s were precursory events in the revolution of the forms of artistic creation, specifically in relation to conceptual art, which was developed linked to the emergence of new techniques, especially the advance of computer research in the beginning of this decade. The notion of "archive" introduces in artistic practice the so-called "data storage", where the IBM announces a figure of knowledge, with its bits, inputs and outputs, and a new way of dealing with the social reality.

Microsound and Time Scales

Also from this perspective (Roads, 2004) in his book Microsound, in one of his reflections about the directions of music and the advent of new instruments, says that the computer has become the best alternative to think about representation of the musical structure and of the multiple temporal scales existing, tracing a kind of time / sound / music relationship that allows it to define nine temporal scales. According to Roads, these scales define the levels of sound analysis, as specified below:

_____Infinite: The ideal time of mathematical duration,
_____like the infinite sine waves of classical Fourier analysis.
_____Supra: A time scale that goes beyond compositions
_____and extends over months, years, decades and centuries.
_____Macro: The scale that comprises the musical architecture
_____in general or form, measured in minutes or hours,
_____being able to arrive in extreme cases to days.
_____Meso: The scale of the division of form. Sound
_____objects grouped into hierarchies of sentence
_____structures of various sizes, measured in minutes or seconds.
_____Sound Object: Basic unit of musical structure,
_____generalizing the concept of note to include
_____complex and mutant sound events in the time
_____scale varying between fractions of seconds and several
_____seconds.
_____Micro: Particles of sound on a time scale
_____that extends to the limit of auditory perception
_____(measured in thousands of seconds or milliseconds).
_____Sample: The atomic level of digital audio systems:
_____individual binary samples or numerical values ​​of
_____amplitude, one following another in a fixed time
_____interval. The sample period is measured in millions of seconds
_____(microseconds).
_____Subsample: Fluctuations on such a short time
_____scale to be properly recorded or perceived,
_____measured in billions of seconds (nanoseconds) or less.
_____Infinitesimal: The ideal time of mathematical durations,
_____as the infinitely brief delta functions. (ROADS, 2004)

These scales comprise a hierarchical structure defined to allow reflections at the various levels of sound and time scales. Thus, in this project I will focus on the Macro scale that includes the time scale of the current musical architecture, and may also include compositions of long duration, less than 1 hour, with references to representations of reality (such as sound landscapes), where grouped sound objects in structures represent the level of the shape, composing the basic structure of the intended composition.

Myth, Rite and Appropriation

Reflecting on the aspect of the appropriation of an indigenous work for of this composition, it is worth mentioning the contributions of the anthropologist Viveiros de Castro, when the same, addressing the indigenous mythology, makes a relationship between myth, rite and reproduction, in his own words:

_____"It seems to me almost certain that there is no
_____identity of substance between beings or ritual characters
_____their mythical archetypes. In short, human ritual is a
_____reduced iconic model of superhuman successes
_____described in the myth (...) if the myth is a word, the ritual evo
_____directly the domain of doing. Or rather, talv
_____it is all doing that respects the mastery of ritual. Look
_____thus, how joy is in doing. "(CASTRO, 2002)

Therefore, the intended composition makes reference to the aesthetic proposals researcher's work by Marlui Miranda in no intention other than appropriation for re-signification purposes hearing experience of IHU - Todos os Sons, which in this work seeks to represent a totality or singularity of the sounds that depict myths rites of native peoples, with customs and traditions of very different songs which has consolidated to date the models and molds of Western music and culture.

FINAL CONSIDERATIONS

To carry out this work was a great learning process, through the results obtained and the new perspectives that I was able to explore with this new arrangement and re-signification of ons, not to mention the benefits of having heard hours of native songs from the Brazilian Amazon, work done by a researcher of native peoples Brazilians, Marlui Barbosa. Drawing a brief relation with other styles of composition, as in Oswald's Plunderphonic (1988), where the use of collages and overlays of medium and short duration prevails, in this proposal I tried to make a detour and experiment with a technique without so much rhythmic sophistication, opting instead for the idea of ​​searching for the rhythmic unity of a work as a whole, and the possibilities of its harmonization with itself. I conclude without a conclusion that is absolute and aesthetic about the experiences made possible with the result of this piece, other works will have to be done for a more in depth discussion about the empirical implications of the techniques and procedures. I conclude, finally, guarding my place of apprentice, in the words of John Cage on the influence of Marshall Mcluhan in his music:

_____New art and music do not communicate an individual's
_____conceptions in ordered structures, but they implement
_____processes which are, as are our daily lives, opportunities
_____for perception (observation and listening).
_____(KOSTELANETZ, 1971)

REFERENCES
1. BOURRIAUD, N. Pós-produção: como a arte reprograma o mundo contemporâneo. São
Paulo: Martnn, 2009.
2. CASTRO, E. V. D. A inconstância da alma selvagem e outros ensaios de antropologia. São
Paulo: Conac Naify, 2002.
3. EMMERSON, S. Music, Electronic Media and Culture. Aldernhot: Anhgate Publinhing, 2002.
4. KOSTELANETZ, R. John Cage. (ed.) (1971). ed. London: Allen Lane.
5. ROADS, C. Microsound. Cambridge: The MIT Prenn, 2001.